Review: Wisdom Teeth co-founder K-Lone steps over to Idle Hands for two deep dream escapades. "Dance Of The Vampires" is a 3am backroom special; dubby, deep but coiled with a trippy spring that keeps your floor fully locked. "Sleepwalker" takes us even deeper into subs as we're taken for a slow stroll down a dark but alluring lane where all is not what it seems. Deep but weighty, warm and toasty, Idle Hands have delivered another pure wax nugget right here.

Review: Busting open a brand new bottle of 2019 with his bare Mancunian hands, Walton returns to Pinch's Tectonic with his first fresh dispatch since his sophomore album Black Lotus. As always, it's a full-bodied assault as "Bullet 2" licks shots with technoid venom. "Inside" follows with a similar spirit but with even less layers of armour and a bouncier bassline, while "More Cowbell" does that toxic Pulse X style alien bass thing, gets all trippy with the percussion and seriously stampy with the kicks. Finally, we close with a bruked up G swagger on the spacious, foreboding "Gunshot Clap". Shots fired.

Review: Seven years have passed since Burial first stopped us dead in our tracks with this universally acclaimed second album.. Sounding so different, so removed and far away from anything else, it changed the game entirely - and created a whole school of imitators in its wake. Now repressed by Hyperdub, this is a rare opportunity to grab it on fresh wax. Even if you have this on other formats in your collection, the dusty weight and chasmic crackles sound so much better on vinyl.

Review: Having set our world alight with his third Ilian Tape 12", 2012, back in the spring, Munich man Skee Mask delivers another essential collection of loose-limbed, broken techno workouts. Typically, he's on point from the word go, enveloping swinging, off-kilter techno breakbeats with swirling chords and cascading melodies on brilliant opener "Inti". His love of African-influenced polyrhythms is explored further on the ghostly, percussion-rich club cut "Kappelberg Chant" (which, incidentally, makes great use of choral chants), while "Routine" is a warm, loved-up and evocative tribute to rave-era British breakbeat-house. His debt to British dance music's formative years also comes to the fore on killer proto-jungle jam "Skreet Lvl Dub".

Review: Skee Mask, who only recently was found out to be called Bryan Muller, comes through with his second LP to date, making a wonderful follow-up to 2016's Shred. Compro is, ironically, comprised of a much more explorative palette of sounds, with many corners of the album veering off into otherworldly ambient, often through a striking new-age sensibility. The most impressive element of this album is its flow and evolution across its 12 tracks, sounding a lot more like one single-minded thought rather than a collection of disparate dance-not-dance tunes. The quality of the recording is noticeable, too, with tracks like "Rev8617" or "Via Sub Mids" sounding professional, both in vision and style. Through an intricate collage of breaks, samples, polyphonies, and subtle electronic manipulations, Skee Mask has truly mastered his own art, and is giving a new direction to the wider 'UK rave' sound. BIG.

Review: Sneaker Social Club are not messing around! Following their previous outings from the legendary trio 2 Bad Mice comes remixes from two impeccably forward thinking break crafters; Sully takes "Gone Too Soon" into some fantastical places as the breaks scream jungle but the big breeze pads scream Alex Reece but both elements work together emotively. Falty DL, meanwhile, gives us a hardcore schooling on "Limit Of Paradise" with its heavily layered breaks, wall of sound pads and dynamic drops into spacious hooks. Bad to the (clear vinyl) bone!

Review: Charging into 2019 with a brand new single on his own brand label, O'Flynn takes full control with this mesmerising release. Across two sides he covers all the vibes you know him for; "TKOTN" is a rattling, rusty breakbeat roller laced with strong industrial textures and FX while "Siberian Goose Down" whips up a much more emotional sensation before it suddenly degrades into utter stomp primed techno chaos. A million cheers for a Hundred Flowers.

Review: When Peggy Lee slinked around in the 50s to the sultry strains of "Fever", could she ever have imagined that half a century later, people like Romare would be turning her tune into a weed smokin', love makin' slo-mo RnB jam? Unlikely to say the least, but "Your Love (You Give Me Fever") is on the money and respectful, if different to the original's mood. Elsewhere on Romare's latest Black Acre release, "Jimi & Faye" is a warped take on blues, "Taste Of Honey" recalls the days of daisy age hip-hop and "Hey Now" is a weary and haunting piano lament.

Review: Tropical bass music specialists Dengue Dengue Dengue have released some stellar music in recent years, including two fine albums on Enchufada and, more recently, a highly limited, carnival-themed 10" via On The Corner Records. Here the Peruvian duo returns to that label with a sizzling new EP. There's plenty to enjoy, from the doomy, trumpet-sporting 21st century electro-cumbia of opener "Pua", to the loose-limbed, slipped tropical house percussion and trippy electronics of "Dileke", via the sparkling melodies, traditional South American instrumentation and soft-focus rhythms of "Eye Acucho". They also join forces with Brazilian producer Joutro Mundo to remix Ayani Huni Kuin's "Habu Raminibu", cleverly turning it into an atmospheric chunk of languid South American tropical house.

Review: London artist Jesse Kuye shuts down his oldest alias J. Tijn in style. Taking a collection of old and new sketches, field recordings and ideas, he signs off the project with a visceral full stop. From the abstract (the pining strings on "On The Breadine") the more visceral, roughly hewn techno ("Blue") by way of fractured, other planetary bass ("Roast"), the collection draws a line in the sand and sets us up for new excursions as Zeki and In An Instant. Happy listening.

Review: As a follow-up to Will Saul's exclusive-packed - and generally well received - DJ Kicks set, !K7 has decided to reissue two of the most celebrated tracks, with fresh new remixes. On the A-side you'll find Jabru and Joel Culpepper's "Church" - a decidedly organic, soulful chunk of deep house/UK garage fusion - with accompanying Zed Bias rub. The UKG veteran gives it a bouncy, bassy two-step makeover, wisely retaining Culpepper's brilliant vocals. Flip for Will Saul and Komon's spacey "Two For One", where dreamy flourishes rub shoulders with throbbing electronics and delicate house beats. The remix is provided by Appleblim, who adds a new layer of percussive toughness - in a bruk-meets-two-step style - whilst retaining the warmth of the original.

Review: In Colour is of course the long awaited debut solo album from The xx's in-house knob twiddler Jamie 'xx' Smith, arriving through regular home Young Turks backed with a whole host of guest appearances. The more obsessive Jamie xx fans out there (of which we wager there are many) will no doubt already have burned out their laptops and retinas basking in the all too colourful pre-release streams of In Colour, but it's always nice to grip an album in your hands. The eleven tracks on In Colours come across like a low key ode to the rave from Jamie and pals, with Four Tet, Romy & Oli xx, Young Thug and Popcaan featuring, and yes there is also plenty of steel pan. "Hold Tight", which sounds like Jamie's attempt at forest techno, is a definite highlight! Young Turks have popped in a CD edition of the album too.

Review: The 90th installment of the long-running FabricLive series comes from Kahn & Neek, AKA Young Echno members Joe McGann and Sam Barrett. The 28-track mix-up is naturally heavy on material from friends and collaborators (Jabu, Pinch, Ishan Sound, Gemmy etc.), plus a swathe of their own productions and remixes. It offers a whirlwind tour of the Bristol duo's influences and inspirations, taking in paranoid, dubbed-out ambience, stoned trip-hop, sub-bothering grime, post-dubstep intensity, hard-to-define madness (Gantz's brilliant "Temple Meads"), dancefloor-burning ragga revisions, and mutant, wide-eyed post-R&B (the fantastic "Dial Ton" by VMOS and Boofy). In other words, it perfectly encapsulates the duo's club-rocking DJ sets, not to mention where Bristol's bass scene is right now.

Review: ** REPRESS ALERT ** Given that his sound has now been referenced, copied and bastardised by countless imitators, is testament to Burial's enduring appeal that the announcement of a new EP on a Sunday in Febuary was enough to shake the online music press out of their collective stupors. As an EP it more than stands up to his previous work, and it may even be better than last year's Street Halo EP - where the brilliance of the title track left the EP quite top-heavy, there's no such complaints on Kindred. If UK garage was the touchpoint for his earlier releases, this EP sees Burial further developing a sound that has few obvious points of comparison, whether it's the savage, gnarled bassline of the title track, or the shambling house of "Loner", characterized by its hollowed out arpeggio and ambient crackle. But it's "Ashtray Wasp" that provides the most breathtaking moment, seeing the producer using the distinct musical language he's created and bringing confident melodic elements into play. Of course such descriptions seem trivial when trying to describe this EP - even for Burial it's far beyond what his peers and imitators could ever imagine making.

Review: Multidisciplinary artist Fatima Al Qadiri aligns with Hyperdub to release Asiatisch, a keenly anticipated debut album that's described as a "simulated road trip through an imagined China". First coming to prominence on the UNO label in 2011, Al Qadiri has subsequently provoked critical acclaim for the 2012 Desert Strike EP for Fade To Mind that played on her time spent living in Kuwait as a child, while her work under the Ayshay moniker for Tri Angle explored vocals in a unique manner. Asiatisch expands on the political themes of Desert Strike in a new and unexpected way, and acts as a homage to the style of grime known as "sinogrime". Asian motifs and melodies are prominent throughout whilst conceptually Al Qadiri runs through "the fantasies of east Asia as refracted through pulpy Western pop culture". If that wasn't enough to sell you on the concept, opening track "Shanzhai" is a "nonsensical Mandarin" language cover of Sinead O'Connor's "Nothing Compares 2 U".

Review: Anything on Kode 9's Hyperdub is always eagerly anticipated and for due reason. This time the legendary DJ Spinn steps up. Chicago footwork legend and collaborator with the late DJ Rashad schools us on how it's done, like only a DJ of his calibre can. On the first side "Throw It Back" grates at you with its acidic mono-synth facing off with a relentless sub bass assault. The title track "Off That Loud" asks "What you smokin' now?" and cuts up that very phrase over a rapidly collapsing rhythm, all so typical of the Windy City street sound's style. Also on the flip there's a collaboration with the late DJ Rashad featured, that's "Dubby" featuring the rapping of none other than Danny Brown.

Review: It makes perfect sense for the London trio of Carlo Anderson, Matthew Benyayer and Thomas Edwards to issue their debut Dark Sky album on Monkeytown as they've gradually become more and more affiliated with the network of labels overseen by Modeselektor. So how exactly does Imagin sound? It covers alot of the bases we've come to expect from both Dark Sky and Monkeytown; there's the skywards pointing melodic flex of the opening title track, a smattering of vocal numbers (such as lead single "Silent Fall"), some bass heavy floor burners ("Voyages" and the neck snapping "Odyssey" stand out) and plenty more to boot.

Review: Repress alert! Wednesday: Hyperdub announce a new three track release from enigmatic producer Burial - his first solo work in four years. Thursday: Said records arrive on Juno doorstep. How's that for service (and secrecy)! The news came just a matter of days after the producer's collaboration with Radiohead front man Thom Yorke and Four Tet arrived on record shelves across the UK and promptly sold out amidst a frenzy of hype. There are three new tracks on offer here, namely "Street Halo", "NYC" and "Stolen Dog". First up "Street Halo" showcases the classic Burial sound; subterranean bass gurgles, trademark clicking beats and barely-there vocal snatches. A sweet childlike vocal pervades the sonic mist on "NYC" while "Stolen Dog" closes out with ethereal vocal harmonies buried deep beneath vinyl crackle. Stunning.

Review: Single LP Editrion: While their 50 Weapons imprint may be winding up, Modeselektor's Monkeytown imprint is still in full swing, releasing all sorts of interesting electronic music lately from producers as diverse as Robot Koch, Omar Souleyman and Howling. This time label head honchos Bronsert and Szary team up with good mate Sascha Ring aka Apparat for another session as well.. Moderat, of course! Highlights include the bittersweet and bass heavy pop inflections of "Bad Kingdom" featuring Ring's powerful vocals, the epically future beats of "Let In The Light" or "Ilona" and the upbeat dusty deep house of "Milk". Superb production on display throughout the album and don't forget to check out the killer remixes by Skee Mask and Benjamin Damage (amongst others) available soon as well.

Review: Given the hype that surrounded the release of the first Moderat set back in 2009, we can surely expect more of the same for this second outing from Apparat and Modeselektor. Those familiar with the first album's woozy blend of IDM, Thom Yorke indebted vocal dreaminess, porchlight techno and post-dubstep rhythms will immediately feel right at home. Online reviews have focused largely on II's atmospheric warmth, and the way in which the Berlin-based trio seems to have refined their sound. Both are valid critiques; certainly, there's a maturity and musical complexity to the album that betters much of their previous works. It's not much of a dancefloor set, but that's entirely the point; this is locked-in headphone listening for the wide-eyed generation.

Review: With his stock as a producer ever rising since footwork veritably invaded the wider electronic music world, DJ Rashad serves up another potent brew of high tempo sample daggering for Hyperdub after choice LPs for the likes of Lit City Trax and Ghettophiles in the past. There's a smooth quality to many of the tracks on offer here as Rashad gets ever more intimate with synthesis in his tracks, the tender chords on a track such as "Only One" softening out the edges of the rapid fire vocal triggering. It's not all sweetness and light, with the title track whipping up a nod to the raw nastiness of old Dance Mania with its farting bassline in the lead in to the track. Either way, across fourteen tracks you get a real feel for where one of the leading lights of the footwork scene is at.

Review: With this release, the Zenker Brothers' Ilian Tape label has delivered something of a curveball. It sees experimental D&B producer and all round bass head Djrum join the party, sharing space with unknown quantity Struction. Djrum begins with broken techno gem "Untitled 9", cutting up sweaty broken beats, heavy basslines and deep techno electronics. On the flip, we are treated to the sounds of Struction, combining punchy breakbeats with ambient-influenced electronics on the rolling "Don't Blame", before moving further towards beat-less, end-of-night territory with the acid-flecked trip that is "Struktur".

Review: Sublime retro future breaks from Keysound affiliate Etch. As suggested in the title, none of these breaks have real titles; it's just all about the crisp drum work, vast roominess and old school dynamics from the brushed drum swing of the first slice and the rubber ball bass of the second, right the way through the ghostly vocal tones and MC commands on the fourth slice, this is the sound of a man who knows his foundations inside out. Sneaker Social Club don't release anywhere near as much as they should.... But when they do you should always pay attention.

Review: There's plenty to get excited about on Silk Road Assassins' long-awaited debut full-length, which arrives some three years after their acclaimed debut EP, "Reflection Spaces". For starters, the trio has delivered something that neatly sidesteps convention, melding bustling, loose-limbed grime and trap rhythms with all manner of layered electronic elements. Some of these are dark and moody and others fluorescent, kaleidoscopic and tropical in tone. "State of Ruin" twists, turns and twists again on umpteen occasions, delivering a musical snapshot of our chaotic times that veers from paranoid intensity to rush-inducing bliss in what seems like the blink of an eye. OK, so we may have got a little carried away, but it's certainly a superb set that's more than worthy of your hard-earned cash.

Review: Polish beatmaker Pawel Strzelczyk has been slinging out all manner of beats as Teilete since 2010, largely on the U Know Me label, but now he brings his dynamic technicolour sound to Father & Son to surely catapult his skills to a wider audience. There's a rich musicality at work throughout Magnetic Soul/Magnetic Tree, as blues samples, rich orchestration, dubstep rhythms, juke patterns and soulful vocals all swirl around in a highly accomplished blender. The attention to detail is remarkable and the production is pristine, but for all the daring ideas and studio skill this is also an incredibly immediate listen that draws you in from the start.

Review: Munich-based mystery man, Skee Mask, remains at the top of our Ilian Tape favourites. While we love the work of brothers Dario and Marco Zenker, the two label founders, we think that this guy's sound is the creme de la creme of contemporary, dub-filtered techno. Serum and Junt were both absolute killer EPs, and the Shred album was also on our list of the best releases of 2016, so we're pretty psyched about this new single, the curiously named 2012. The opening "Kordman Return (Swing mix)" is Skee Mask up to his naughty break sampling and techno wizardry, all broken and loose, whereas "Palo Alto" sees the producer in a surprisingly sturdy, head-first mood driven by solid bursts of 4/4 and wondrous synths. Over on the B-side, "Fjorward Flex Dub" swings its mighty swarms of drums over a minimal flurry of melodies, in what feels like a sublime reinterpretation of heavy, 90s power-house; "Glass Museum" closes with a real twist thanks to an abstract, wide-eyed landscape of dissolving, jazzed-out percussion and moody ambience. Excellent material, as per usual.

Review: Cong Burn continues to exercise one of the most promising instincts for future-minded music on this, their third release. It's surprising they haven't done more previously, considering the maturity of their curation, but either way the quality remains at an all time high here, leading in with some light and liquefied 4/4 sonics from Chekov before pirouetting into one of Duckett's illustrious abstractions around the techno blueprint. Label regular Lack is back on side B with the stern and punchy "Track 3," and then Haddon finishes the record off with "Anabiosis," a densely textured, slow creeping trip of a track.

Review: His first new material as Basic Rhythm since his 2017 album The Basics, the London artist known as East Man steps over to Warp offshoot Arcola for two heady dancefloor slap-abouts. "Dough Boy" is a beautiful magpie of a track that comprises classic jungle pads, a naughty LFO style bassline and Art Of Noise-style talking keyboard notes while "Can't You See" slows the rave right down and strips the vibe right back to its emotional, naked essentials. With an EP on Sneakers Social Club coming up soon too, it's a great time to be a Basic Rhythm fan right now.

Review: Micachu's arrival on Demdike Stare's DDS label in late 2014 with the sublime ridiculous and indescribable mixtape Feeling Romantic Feeling Tropical Feeling Ill was something of a surprise. However this feeling was swiftly replaced with a sense of gratitude as the music within was quite special indeed! The UK pop savant and decorated composer makes her way back to DDS with something of a more traditional release, a fine seven track 12" called Taz & May Vids. Mica Levi's towering talent for skewed electronic music brushed with a charming pop sensiblity remains unwavering here with three of the tracks included featuring regular Michachu collaborator Tirzah (remember their ace "I'm Not Dancing"!). The Demdike lads round the 12" with a live one take edit of "I Dare You" which adds yet more mania to the mix. Great stuff!

Review: It's been a while since Blackest Ever Black turned the key in their A14 machine but it's clearly in working order as Beneath takes us for late night drive through the murkiest of bass/techno/breakbeat hinterlands. "Cloudy" is a sludgy, warped jam that would sound just as good in an Om Unit set as it would a Radioactiveman selection. For a little more grunt flip for the stripped back and rolling "Outsource" where the industrial strength drums suddenly get wrapped up in a short series of pure chord uplift. Hardboiled just as A14 likes to cook them; let's hope both parties don't leave it so long next time...

Review: Bristol bass fusionist Peverelist looks back a decade to the heady hurly burly of 140 music in 2008 and his intrinsic role within its development. "Bluez" remains as timeless and breezy as it ever did. Lightly touched and clearly inspired by the Goodlooking chapters of jungle, it's now been remastered to stand up against today's productions. Meanwhile on the B we have the long lost dub "Und_92". A much dubbier technoid piece that, in hindsight, was a key stepping stone en route to his respected position in techno today. Ageless.